Joao Nemi

For this chapter, the author intends to draw his ideas from feminist pedagogy (hooks, Korol, among others) and queer pedagogy (Britzman, Nemi Neto) in order to present a possible way for teachers to understand the potential of acknowledging students' identities in the classroom. The language classroom is the place of testimony and voice. For one to learn a foreign language, it is important to rely on their voice as an important tool of recognition and identity. Shuffle the cards. Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me. If it existed in our language no one would be able to see my thought's vacillations. I'd be a worker bee for good.

While it is common knowledge that language shapes how we think about gender and sexual identity there is no standard educational practice to create awareness about the place of sexual and gender diversity in the context of language learning. This article draws on queer pedagogy and queer theory to devise teaching practices that acknowledge queer visibility in the classroom. The goal of this article is to examine strategies to enhance inclusion, recognition and visibility of sexual and transgender minorities in the classroom. I propose that language instruction is in need of a queer pedagogy that challenges both the heteronormative assumptions of most language textbooks, and classroom practices that erase Lesbian, Gay, Bisexual, Transgender, Queer, Intersex and Asexual (LGBTQIA) visibility. I argue that language instructors need to be inventive and critical, willing to address in class what most language manuals omit. This way, I hope to contribute to the development of tools and strategies that guarantee a safe, affirmative space for sexual and transgender minorities in our classrooms.

Este artigo pretende discutir e analisar a obra ensaística e ficcional de Herbert Daniel desde seu retorno do exílio em início dos anos 80 até a sua morte em decorrência da AIDS em 1992. Através da análise de seus textos, pretende-se mostrar que Herbert Daniel levanta questões importantes para a disseminação do preconceito contra as pessoas com HIV e também discute o pânico moral instaurado com a epidemia e a morte civil dos pacientes e pessoas com HIV. Os textos de Daniel propõem um diálogo amplo e irrestrito em relação ao preconceito decorrente da epidemia da AIDS traçando assim um detalhado painel que contribui para uma compreensão mais ampla da história da AIDS no Brasil.

Through an analysis of contemporary Brazilian cinematic production, Cannibalizing Queer: Brazilian Cinema from 1970 to 2015 discusses which queer representations are erased and which are acknowledged in the complex processes of cultural translation, adaptation, and "devouring" that defines the Brazilian understanding of sexual dissidents and minorities. João Nemi Neto argues for Brazilian cinema studies to acknowledge the importance of 1920s modernism and of antropografia, a conceptual mode of cannibalism, to adopt and extrapolate a perverse form of absorption and raise the stakes on queer theory and postcolonialism, and to demonstrate how they are crucial to the development of a queer tradition in Brazilian cinema.
In five chapters and two "trailers," Nemi Neto understands the term "queer" through its political dimensions because the films he analyzes represent characters that conform neither to American coming-out politics nor to Brazilian identity politics. Nonetheless, the films are queer precisely because the queer experiences and affection explored in these films do not necessarily insist on identifying characters as a particular sexuality or gender identity. Therefore, attention to characters within a unique cinematic world raises the stakes on several issues that hinge on cinematic form, narrative, and representation. Nemi Neto interviews and examines the work of João Silvério Trevisan and provides readings of films such as AIDS o furor do sexo explícito (AIDS the Furor of Explicit Sex, 1986), and Dzi Croquetes (Dzi Croquetes, 2009) to theorize a productive overlap between queer and antropofagia. Moreover, the films analyzed here depict queer alternative representations to both homonormativity and heteronormativity as forms of resistance, at the same time as prejudice and heteronormativity remain present in contemporary Brazilian social practices.
Graduate students and scholars of cinema and media studies, queer studies, Brazilian modernism, and Latin American studies will value what one early reader called "a point of departure for all future research on Brazilian queer cinema."

Brazilian cinema is born out of a desire for modernity. Moving images (movies) represented the newest technological innovation. Cinematographers brought to the growing cities of Brazil an idea—and ideal—of “civilization” and contemporaneousness. At the same time, queer identities started to gain visibility. Therefore, a possible historiography of cinema is also a potential for a historiography of queer identities.

Nonetheless, as a non-Anglo country and former colony of Portugal, Brazil presents its own vicissitudes both in the history of cinema and in queer historiography. To understand dissident identities in a peripherical culture (in relation to Europe), one must comprehend the ways ideas and concepts travel. Therefore, queer and intersectionality function as traveling theories (in Edward Said’s terms) for the understanding of a Brazilian queer cinema.

A critical perspective of the term “queer” and its repercussions in other cultures where English is not the first language is imperative for one to understand groundbreaking filmmakers who have depicted queer realities and identities on the Brazilian big screen throughout the 20th century and the first decades of the 21st century.